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COMING OF AGE IN 

NORTH CAROLINA'S FIFTH 

CENTURY 

Maxine Swalin 



■H 



THE LIBRARY OF THE 

UNIVERSITY OF 

NORTH CAROLINA 

AT CHAPEL HILL 




THE COLLECTION OF 
NORTH CAROLINIANA 



C906 
N87s 
no. 35 



Coming ofA_ge in 
North Carolina 's Fifth Century 



Maxine Swalin 




Together with Tributes to Maxine Swalin on the Occasion 

of Her One-hundredth Birthday and Her Acceptance of the 

North Caroliniana Society Aivard, 7 May 2003, and a Brief History 

of the North Carolina Symphony, by John L. H umber 



NORTH CAROLINIANA SOCIETY IMPRINTS 

H. G.Jones, General Editor 

No. 1. An Evening at Monticello: An Essay in Reflection (1978) 
by Edwin M. Gill 

No. 2. The Paul Green I Knoir (1978) 
by Elizabeth Lay Green 

No. 3. The Albert Coafes I Know (1979) 
by Gladys Hall Coates 

No. 4. The Saw Ervin I Know (1980) 
by Jean Conyers Ervin 

No. 5. Sam Ragan (1981) 
by Neil Morgan 

No. 6. Thomas Wolfe of North Carolina (1982) 
edited by H. G. ]ones 

No. 7. Gertrude Sprague Cairaway (1982) 
by Sam Ragan 

No. 8. John Fries Blair (1983) 
by Margaret Blair McCuiston 

No. 9. William Clyde Friday and Ida Howell Friday (1984) 
by Georgia Carroll Kyser and William Brantley Ay cock 

No. 10. William S. Powell, Historian (1985) 
by David Stick and William C Friday 

No. 11. "Gallantly Unsurpassed" (1985) 
edited by Archie K. Davis 

No. 12. May and Jim Semans, North Carolinians (1986) 
by W. Kenneth Goodson 

No. 13. The High Water Mark (1986) 
edited by Archie K. Davis 

No. 14. Raleigh and Ouinn: The Explorer and His Boswell (1987) 
edited by H. G. Jones 

No. 15. A HalfCentuiy in Coastal History (1987) 
by David Stick 

No. 16. Thomas Wolfe at Eighty-seven (1988) 
edited by H. G. Jones 

No. 17. A Third of a Century in Senate Cloakrooms (1988) 
by William McWhorter Cochrane 

No. 18. The Emma Neal Mormon 1 Know (1989) 
by Ida Howell Friday 

[continued on inside back cover] 



Coming of Age in 
North Carolina } s Fifth Century 

by 

Maxine Swalin 



and 



The North Carolina Symphony, 

The People 's Orchestra: 

A. Brief History 




Chapel Hill 27514-8890 

NORTH CAKOUNIANA SOCIETY, INC. 

2003 



NORTH CAR0UNL4NA SOCIETY IMPRINTS 

Number 35 
H. G.Jones, General Editor 



This edition is limited to 

five hundred signed copies 

of which this is number 

<5 xj J 



Copyright © 2003 by 

North Caroliniana Society 

UNC Campus Box 3930, Wilson Tibrary 

Chapel Hill North Carolina 27514-8890 

E-mail: hgjones&email. unc. edu 

http:/ 1 mvn \ ncsociety. org 

All rights reserved 

Manufactured in the United States of America 



I 



PART I 



Coming of Age in 
North Carolina 's Fifth Century 



by 

Maxine Swalin 



Delivered before the North Caroliniana Society on the Occasion 

of the Author's 100 th Birthday, 7 May 2003, and Her Acceptance 

of the North Caroliniana Society Award for 2003 



MAXINE SWAUN 







Benjamin and Maxine Sivalin upon arriving at Camp Eejeune 
for the first children 's concert, 1945. 



Coming ofsige in 
North Carolina 's Fifth Century 



Maxine Sivalin 



I thank you for giving me this glorious opportunity to express my 
gratitude for 69 years of happy learning at this university. All of you have 
added to my happiness, so what kinder, warmer embrace could a child of 100 
receive than to know that you are here! 

As North Carolina moves into its fifth century it has shared in many 
significant events that have influenced the course of our national history. The 
first English colony in America was established in 1585 on the shores of our 
own Roanoke Island. The wisdom of our early representatives helped to insure 
that a national bill of rights was included in our Constitution. The Wright 
brothers made the first successful machine-powered flight by man one 
hundred years ago on the sands of Kitty Hawk. And sixty years ago our 
Legislature made North Carolina the first state in our nation to subsidize a 
state symphony orchestra on a continuing basis. 

The North Caroliniana Society, founded 28 years ago, is an example 
of a prayer by Peter Marshall: "It is not the beginning, but the continuing of 
the same that is the true glory." As a newcomer to this distinguished society, 
I hope that my life — my 69 years of living in this wonderful state — may help 
provide some significance to my membership. 

My Story began 100 years ago today when all ten pounds of me 
arrived to parents who were expecting a son named Max. When I was eight 
months old, father brought home a Victrola and some recordings. Before I was 
old enough to go to school, my older sister read to me from the Victrola Book 
all about Melba, Galli Curci, Madame Shumann-Heink, and Caruso. Then she 
taught me to read music and to play the piano. 

Perhaps in hoping for a son my parents felt some guilt. So they gave 
the daughter they received every advantage by sending her to Des Moines for 
lessons in art and music. My day's allowance of 35 cents took me on the trolley 
from a morning of drawing at the Cumming School of Art to Bishop's 
Cafeteria for lunch. But the bright lights of the movie house beckoned me, and 
I still had 5 cents for a Hershey bar and 5 cents for popcorn. Each Saturday, 
I educated myself with the films of Fatty Arbuckle, Man' Pickford with her 
head full of curls, and Theda Bara, who always seemed to be lying down. 

Then I walked up the hill to the Victoria Hotel and the apartment of 
the Van Auchen sisters, one a pianist and the other a violinist. Mother assured 
me that they had studied in England so that I would be able to understand my 
teacher, Marie. She was taller than my father, but her blue, blue eyes were 



4 MAXINE SWAUN 

kindly and when she sat at the piano, her stature seemed to embrace all 88 
keys. 

During tea that first day I saw a basket of colored postcards of 
paintings. They were so beautiful I asked her to tell me about the painters. 
These stories continued as she walked me to the railroad station. People stared 
at us. The little girl in the stocking cap and buttoned shoes did not seem to 
belong to that grand lady in gloves and a handsome tailored suit. She always 
waved to me as the train was pulling out. 

I was thrilled when every Thursday my class at school listened by 
radio to Walter Damrosch and the New York Philharmonic. The music by 
Haydn and Mozart was so beautiful I could hardly wait for Thursdays. My next 
piano teacher taught me ear training and harmony, which awakened me to the 
chords my parents practiced in their weekly vocal quartet. On Sunday nights 
we ate popcorn and apples in the platform swing — just room for four people, 
so I always sat on someone's lap. One night the Methodists in their church 
diagonally across from our house sang lustily, "Will there be any stars, any 
stars, in my crown?" and across the way the Presbyterians weakly replied, "No, 
not one, No, not one." 

During my high school years I attended the Frances Schimer boarding 
school. Upon my return home, I had a youthful disdain for my parents who 
lived in this hot village of Waukee. I was ashamed that Waukee's streets didn't 
have names. However, it did have two railroads, which gave my mother the 
freedom to go to Saturday matinees at the Princess Theater in Des Moines. 
Once she took me to hear Paderewski, and another time, Sarah Bernhardt. I 
had a feeling that great music and grand speech were far different from the 
ordinary. 

After the Frances Schimer School, my folks suggested that I talk to the 
Dean of Women at Drake University for advice about my future. Mrs. 
Cubbage asked if I would live with her family free of charge in return for 
playing chamber music with her three children. It was blissful to play chamber 
music every night after supper. Mornings, Mrs. Cubbage taught Greek and I 
practiced in the quiet, empty house. At the end of spring term I played a recital 
and received my teacher's certificate. Mrs. Cubbage explained that a girl of 19 
might not receive consideration as a teacher in the schools, therefore it might 
be wise to apply in my hometown. 

When I began teaching in Waukee, I was never "Miss McMahon," but 
one Maxine among many throughout the school because of my physician 
father's idea that nameless baby girls should be called "Maxine." In school, 
when Maxine was mentioned, the response was like an outbreak of the 
measles. I saved every penny I could during the 2 years I lived at home before 
enrolling in the Institute of Musical Art in New York, which later on became 
Julliard School of Music. 

After arriving in New York and emerging from the subway on 1 13th 
street, my first sight was the huge statue of Alma Mater at Columbia 
University. Her arms were outstretched in welcome, and I whispered to her, 
"I've come to learn, and I want to stay." The sheer size of the city intoxicated 
me with its ingenious outlay of streets, subway system, and tall buildings. And 



COMING OF AGE 5 

at last, as I turned around, I could hear practicing. I knew to follow my ears to 
the Parnassus Club, where my trunk had been sent. It was safe in those days 
to walk to the Institute of Musical Art on Riverside Drive along the Hudson 
River, or along Broadway to 125th street and up the steep hill to the Institute 
opposite the International House. 

I was assigned to study with Dr. Newstead, a lazy soul. After a short 
time, I went to the dean, Dr. Frank Damrosch, and told him I would be 
leaving to study back at Drake University with a better teacher. He responded 
that he would transfer me to Elizabeth Strauss, "if she will take you." I went 
into the hallway and stopped students in their tracks to ask, "Who is this Miss 
Strauss, what's she like?" The answers were, "Oh, you're lucky," or "Be careful, 
she's a moose," meaning very strict. 

Miss Strauss put me in a straight jacket of new technique, which made 
me despair of ever releasing an expressive, more natural, technique. However, 
this endurance test of 2V2 years resulted in my graduation. 

Because of my parents' weekly rehearsals of vocal quartets, chordal 
progressions were familiar to my ears. Therefore, I was able to excel in 
keyboard harmony, and ear-training. That may be the reason I was 
recommended to teach theory at the Hartford School of Music, where for the 
next two years I had charge of the theory department. I was heartbroken to 
leave New York, because at graduation Ben Swalin had asked me for a date 
and I already had one waiting in the wings. Now, I thought, I'd never see him 
again. 

I had been watching Ben for two years at the Columbia University 
Library and the Institute of Musical Art, hoping to meet him. But it had never 
happened. Not until I heard him give a recital did I learn his name. In an 
impromptu student show, I loved his sense of humor and Swedish accent as 
he played a rube pretending to row a boat for his uncle, who swore in Swedish 
while fishing. The students, accustomed to Yiddish and other dialects, laughed 
and stamped their feet on the floor. He had either grown up in vaudeville, I 
thought, or was a second generation Swede. 

In September I was lonely in Hartford, though on Saturdays Charles 
Krane, a cellist from the Institute, came to teach at the Hartford School. "I'm 
playing quartets with Ben Swalin," he told me. Trying to stay cool, I said, "Tell 
him hello for me." 

During the week the phone did ring. It was Benjamin asking if he 
might come up for a visit. Could he! For an uncharacteristic moment I 
believed in answered prayers. 

He appeared at the weekend. From my top-floor apartment above the 
Conservatory, we leaned out the window level with the church's steeple across 
the street, visited the Athenaeum Museum, ate oysters at my favorite 
restaurant, and strolled through the park. As time passed, we grew closer and 
told each other our stories. 

Ben was the only one in a family of five who wanted to go to college. 
His sisters didn't even go to high school. Ben's father had come to this countrv 
in steerage at age 18 with a violin he played for Swedish dances. At dawn he 
went to the smithy where he shoed horses for the Minneapolis trolleys. Ben's 



6 MAXINE SW / AUN 

mother came over as a sen-ant, and they met at a dance. When I first visited 
them as Ben's fiancee, I could not understand Mrs. Swalin because of her 
accent. Ben's father, however, was a fluent, even insistent, talker with sturdy 
views about politics and government. Ben's mother insisted that all of her 
children have music lessons. Two boys became violinists, the youngest son a 
phenomenal jazz musician, and the older sister could chord for her father 
when he played Swedish music. 

Growing up, Ben received the Jenny Lind scholarship to continue his 
studies. As a teenager he actually taught violin at the Minneapolis 
Conservator} 7 . Upon graduation from high school, he won a place as the 
Minneapolis symphony's youngest member. Those two years traveling with 
expert musicians in Canada and the Dakotas led to his desire to study in New 
York with a great master. At 21 he defied his parents, who wanted him to stay 
home and teach music as his life's work, and went to New York to study with 
Franz Kneisel at the Institute of Musical Art. 

While courting in Hartford, we played music together and gradually 
Ben helped free me from Miss Strauss's rigid training. Bv spring we had both 
lost our hearts. The story of our protracted courtship is told in my book, An 
Ear to Myself, as well as how, still having no college degree, I began work 
toward a Bachelors degree at the advanced age of twenty-seven, only finishing 
before we moved to Chapel Hill. 

When we feel at home outside of where we're born, that's where we're 
meant to be. Ben and I didn't know this in 1935 when we rode the Southern 
Railway as newlyweds. The conductor rushed through the train calling "Dumb! 
Dumb!" We looked at each other and said, "Durham?" and jumped off the 
train. Dr. and Mrs. Glen Haydon were at the Durham station to meet us and 
brought us here to the Carolina Inn. 

Ben intended to teach only the short second summer session in 
Chapel Hill, then we would return to Greencastle, Indiana, where Ben was on 
the faculty of De Pauw University. But it was unexplainable how much at 
home we began to feel in Chapel Hill after we met Paul Green, Adeline and 
Freddie McCall, and Johnsie Burnham, who became our new friends. Never 
had we had such a good time! They told us that there had been a North 
Carolina Symphony, but, after about 1 40 concerts and a warm reception, the 
WPA had withdrawn its financial support. The requiem of an orchestra! "How 
tragic," we thought, little guessing that we would become instruments of its 
revival. 

Lamar Stringfield had started the fledgling symphony. We'd known 
him at the Institute of Musical Art, so Ben's feeling of requiem intensified. At 
UNC in 1935, the excellent faculty recitals on Tuesday nights were sparsely 
attended. Duke University had no music department as yet, only the chapel 
choir. Still, we found neighbors who loved music and joined us in Saturday 
night musicales. 

To encourage Ben's continuation on the faculty, President Graham 
offered him a contract for two years, as well as a promotion in rank. It was 
tempting. My life was pleasurable with practice in the music department in the 
morning, reading and studying in the beautiful silent reading room of Wilson 



COMING OF AGE 7 

Library in the afternoon, then a leisurely afternoon coffee with Ben and his 
German friends at Danziger's Old World Coffee Shop. All spoke German 
except me, and I wondered how long it would be until the state health 
department knew that the cats were nibbling at the sweets on the lower shelf 
of the serving tray. 

At less salary than at De Pauw and with a heavier teaching load, Ben 
still found it a challenge to stay here in North Carolina, especially with such a 
dearth of performing string players. At the only international summer school 
that Moscow had, Ben observed that music in the park acquainted children 
with the finest ballet and conservatory music; so he had a firm idea of what 
was possible. He believed that orchestra music was as important in a rural state 
as electrification. 

When the music department head promised a larger University 
Orchestra, we made our decision to settle in Chapel Hill. 

One of Ben's violin students was May Jo, the daughter of Joseph 
DeNardo of Asheville. He had helped Lamar Stringfield locate players for the 
original North Carolina Symphony and he had tried so hard near the end to 
hold the WPA orchestra together. Ties with the DeNardo family and with 
Asheville's other musicians led to Ben's establishing; a rehearsal unit there for 
the North Carolina Symphony's second beginning. 

Returning from Asheville, Ben met former svmphonv plavers in 
Charlotte, Kannapolis, High Point, and Greensboro. Ben told me, "I can go 
by bus to these units on weekends." 

After rehearsing these units for a time the first concert of the revived 
North Carolina Symphony was performed on March 16, 1940, at Meredith 
College. 

At Raleigh's sesquicentennial celebration in 1942, Ben conducted the 
North Carolina Symphony in Raleigh's Memorial Auditorium. Mrs. Charles E. 
Johnson wrote a letter to the Raleigh paper in which she castigated the public 
for its indifference, and highly praised the work of the orchestra. It was she 
who became our second president, and who took Benjamin Swalin to talk to 
Governor and Mrs. Broughton. 

That meeting with the Broughtons eventually resulted in the passage 
of Senate Bill 248 in March 1943, the "horn-tootin"' bill, which placed the 
orchestra under the patronage and control of the state. It was the first time that 
a state government had recognized the importance of an orchestra in its 
educational system. 

Now, w T e no longer felt the requiem of the past. With the strong 
encouragement of state leaders such as Governor Broughton and Christopher 
Crittenden, Director of the State Department of Archives and History, we 
were able to begin moving forward. 

I can't imagine another state giving us such willing endorsers and 
leaders tor our Symphony chapters. The early founding of the University surely 
made a difference, too. In this state, unique in the South, people in small 
communities supported progressive ideas. Only once in all those years did we 
arrive in a community where the chapter chairman had done nothing to raise 
funds for the concert. 



8 MAXINE SWAUN 

Once, in 1960, a series of snowstorms delayed the tour, causing it to 
fall seventeen concerts behind schedule. This created a financial crisis, which 
Johnsie Burnham with other friends helped to alleviate by beginning an 
emergency fund. The need for a Symphony endowment became quite apparent 
and the first annual Symphony Ball to help provide this sustaining support was 
a gala event held at the Governor's Mansion in 1961 with Governor and Mrs. 
Terry Sanford as hosts. 

Five years later, after a few gifts had helped to inaugurate the 
beginnings of an endowment fund, the Ford Foundation announced an $81 
million grant for symphony orchestras around the nation. Much time and 
effort was spent to get the Ford Foundation to include the North Carolina 
Symphony in its list of 60 orchestras to be awarded a challenge grant. 

Then one day Earl Wynn of the University Radio and Television 
Department asked his engineer, Frank Netherland, to record the Symphony's 
performance of Stravinsky's Firebird Suite in Memorial Hall. Later, upon 
hearing this recording, Ben sent it to the Ford Challenge and received an 
invitation to come to New York for an interview. As a result of that meeting 
a $1 million grant was awarded to the North Carolina Symphony, of which 
$750,000 had to be matched within five years. 

To meet this challenge Ben worked hard during 1970 and 1971 to 
organize support around the state and through his efforts the Symphony 
succeeded in overmatching the required amount to a total of $843,171 before 
the deadline. In addition the Symphony received from Ford $882,153, the 
excess being derived from a redistribution of the grants to live orchestras that 
withdrew, making a total of $1,725,324 realized from the Ford Challenge. 

While on tour, however, the unexpected was always just around the 
corner. In one town where we played there were no dressing rooms in the 
school building. We chose a small room behind the stage in which to change 
clothes. When we were dressed, the doorknob came off in Ben's hand. The 
horns were practicing on the other side of the door, and though we called and 
yelled, they couldn't hear us. Our knocking didn't do any good, and when they 
began to miss us, somebody took hold of the doorknob, which came off in his 
hand. So they got a screwdriver and took the door down. And there, fully 
attired, the Swalins suddenly emerged in front of the audience. 

Ben and I believed that children open up to happiness and well being 
if they sing together and hear their own sound; and that children need to hear 
the big sound of an orchestra, preferably up close. Our first proof of this was 
one time when it rained steadily in the mountains and the superintendent of 
schools announced that no children could attend the concert unless they 
brought newspapers to sit upon in the new gym. We played that program with 
children in and about our feet. At the end as I stood near the outside door, a 
little fellow walked backwards to catch a last view of the tympani and fell over 
my feet. He said, "I came just to get out of school, but I like it just the same." 

It was in 1 945 that we organized the Children's Concert Division, with 
Adeline McCall as Director and myself as Coordinator of the Children's 
Concerts. Adeline wrote the Symphony Stories and Teacher's Guidebooks, and 
later conducted the teacher workshops. I was responsible for circulating the 



COMING OF AGE 9 

booklets to the schools around the state, arranging the details for the children's 
concerts and serving as narrator for them. The two of us with Ben's help 
planned the programs each year. 

It seemed a beautiful structure of cooperation. The teachers came to 
Adeline's workshops and the superintendents ordered the recordings and 
distributed the Symphony Stories to every child so the teachers could help 
them learn, listen, and then sing and play at the concert. And we brought the 
Symphony to perform with and for them. 

The communities and schools called our orchestra's visit "Symphony 
Day." We were often welcomed by banners and signs and children's artwork 
and musical instruments they had made. It was a special hour we spent with 
these children all around North Carolina as we introduced so many of them 
to the world of music. They were our real Carnegie Audience. 

I feel an enduring gratitude for those leaders who through the years 
have helped bring the North Carolina Symphony to its present standard of 
achievement. Among them, Joseph Hyde Pratt served as president for both its 
first and second beginnings, and guided the North Carolina Symphony through 
its formative years. When Harry Comer and Russell Grumman, staff members 
of the University, served as Symphony presidents they provided the Symphony 
with free office space in heated university facilities. We depended upon them 
for advice and assistance. Dr. Charles E. Jordan, Vice-President of Duke 
University, with his wisdom and foresight always gave valuable guidance. 

Several presidents of the Symphony Society edited newspapers across 
the state and made it known that, although ours was an orchestra without a 
home, it was still respected and honored. Spencer Murphy, editor of the 
Salisbury Post, and president during the Symphony's first tour in 1946-1947, 
publicized the Symphony as an "orchestra on wheels." During these critical 
years all the Society presidents contributed to the Symphony's growing stature. 

North Carolina legislators from 1943 to the present have provided 
continually increasing support for the orchestra without which the Symphony 
would not have survived. And, we are also grateful for the support of 
Symphony Chapters in communities across the state that filled the Society's 
membership rolls. 

I was a passenger during those thirty-five years when Ben was the true 
pioneer opening the verdant land to its rightful endowment of music, all 
accomplished without a home hall for the orchestra. 

It was Dr. Assad Meymandi who realized the importance of having a 
world-class concert hall for Raleigh and the South that today serves as the 
permanent home of the North Carolina Symphony. I also have a deep personal 
appreciation for Dr. Albert and Sue Jenkins, along with Miss Elizabeth Ruffin, 
who had the vision and made possible the naming of the Meymandi Hall lobby 
for the Swalins, thereby recognizing that we had dedicated our lives to the 
North Carolina Symphony. It was Dr. and Mrs. Jenkins who commissioned 
that lifelike sculpture of my husband and myself by James Barnhill that 
presides over the Swalin Lobby today. 

On March 30, 2001 , 1 was in an audience when Maestro Zimmermann 
announced before the concert that "This is the day of Benjamin Swalin's 100 th 



10 MAXINESWAUN 

birthday." Back home that evening I thought, "Benjamin, we are Centurions; 
and all of our companionable 54 years of quality time were lived in North 
Carolina. It seems that now there is a coming of age in the arts just as you and 
I had hoped." 

For example, a young talent, Nathaniel Stookev, composer-in- 
residence with the North Carolina Symphony, was commissioned by the 
Dayton Philharmonic and the North Carolina Symphony to write a 
composition in celebration of the 100 th anniversary of man's first flight. The 
premiere of his composition, "Wide As Skies" for full orchestra and children's 
chorus, is being performed this evening on my 100 th birthday. 

And now, as North Carolina enters its fifth century, the University of 
North Carolina will be assuming a major role in the continuing pursuit of the 
arts in our nation. A new Arts Common will include a new music building, an 
extension to the Ackland Art Museum, a combined art and music library in the 
renovated Hill Hall, and a completely transformed Memorial Hall for major 
performances. And, below it all will be a parking facility for 300 cars carved 
from Chapel Hill's 60 million-year-old granite foundation. To me the 
throughways of our state will all lead to this University where the arts will 
prevail and fulfill themselves for the cultural advancement of our people. 

When the dedication takes place I would like to be in the balcony of 
Memorial Hall as the brass plays the fanfare in Respighi's "Pines of Rome." If 
I'm not there, my spirit will be. I thank you all in advance, because I am 
confident that this glorious dream is now coming true. 

May I close by echoing my husband's words from the Epilogue of his 
book, Hard-Circus Road: The Odyssey of the North Carolina Symphony: 

Music has moral potentialities; for through it, a student can grow from the small 
to the large in terms of quality of existence, character, and nobility of soul. Music 
is one of the great creative developments of our Western Civilisation. 
What a pleasure and a privilege it has been to share it! 



PART II 



Tributes to Maxine Swalin 

by 

H. G. Jones 
William C. Friday 
Willis P. Whichard 



Including Proceedings of a Banquet on the Occasion of Her 

One-hundredth Birthday and Her Acceptance of the 

North Carolinian a Society Award, 7 May 2003 

John Sprunt Hill Ballroom, Carolina Inn, Chapel Hill 



12 



MAXINE SWALIN 




Speakers at the banquet were H. G. Jones, secretary and treasurer of the Society; William 
C. Friday, president emeritus; and Willis P. Whichard, president. All photos of the 
Maxine Swalin Centennial are by Will Owens. 



Introductory Remarks 



H. G. Jones 



In an adjoining ballroom back in 1976, at a dinner honoring him on 
his 100 th birthday, a special award was given to Dr. Louis Round Wilson by the 
University of North Carolina Press, of which he was a founder more than a 
half century previously. Dr. Wilson went to the microphone, gracefully 
accepted the award, and then, returning to his seat but still within the range of 
the microphone, mumbled to himself, "Long time a-coming." Well, if you 
think tonight has been a "long time a-coming," you should try to get a date on 
Maxine Swalin's incredibly busy calendar. 

Indeed, how fortunate it was that we got on Maxine's calendar many, 
many months ago, for on this very night in Raleigh the North Carolina 
Symphony is playing Nathaniel Stookey's "Wide As Skies" in commemoration 
of the Wright brothers' flight one hundred years ago. It is dedicated to 
Maxine. Frankly, were it not for that scheduling conflict, 1 have no idea where 
we could have put all the people. 

We historians like to place things in perspective, so as we think back 
a hundred years, we find that France and Germany were squabbling over who 
should build a railroad from Baghdad to Basra; Theodore Roosevelt became 
the first president of the United States to stand on the Sierra Mountains and 
behold the otherworldliness of California; some silly contraption with wings 
cluttered up the Wright brothers' bicycle shop in Dayton, Ohio; in Chapel Hill, 
North Carolina, in a referendum to establish graded schools, education won 
by only five votes; and in Waukee, Iowa, Dr. George Thomas McMahon's plan 
to name his first son "Max" was thwarted when his wife Maty Edith presented 
him instead with their third daughter, whom he promptly named "MAX-ine." 

And that is why we are here tonight, exactly one hundred years later. 
Count your blessings for being among the more than 200 friends who will now 
join in welcoming MAX-ine. [Applause of welcome.] 

Please give thanks in your own personal way and enjoy your meal, for 
after dinner we will hear more about and from MAX-ine. If the portable tape 
recorder works, you may, during lulls in conversation, hear some background 
music recorded by the North Carolina Symphony Orchestra a half-century ago. 

[Dinner follon >ed.] 

.1 
Twenty-five years ago here in the Inn we renamed St. Patrick's Day 
"St. Paul's Day" and presented to Paul Green, on his 84 th birthday, the first 
North Caroliniana Society Award. Subsequent recipients are listed in your 
program. Sadly, many of them have passed on and others are in poor health 
or had conflicting engagements, but we are happy to welcome back several 



14 



MAXINE SWALIN 



holders of the award. Will you withhold applause as I ask them to stand and 
remain standing. (As recipients stand, they might want to contemplate one of 
Maxine's favorite maxims: "Don't try to look humble; you're not that 
important.") William and Ida Friday, William S. Powell, Carlyle Sitterson's 
Nancy, and John L. Sanders. [Applause.] Tor a list of all previous recipients, see back 
cover.] 

As is our custom, the entire proceedings of this occasion, including 
the addresses, will be published as one of our signed, numbered North 
Caroliniana Society Imprints, and in the fall you will receive a complimentary copy 
in the mail. 

No doubt some of you have known Maxine Swalin longer than I, and 
you probably remember when you first met. Nevertheless, I issue a challenge: 
Who among you can produce, right now, here tonight, documentary evidence 
of Maxine's first entrv into your life? I can. The long and the short of it is that 
fifty-one years ago a young history teacher at Oak Ridge Military Institute was 
visited by a couple with funny accents who asked his help in selling two-dollar 
memberships in something called the North Carolina Symphony Society. For 
one who grew up thinking that good music was limited to Nashville's Ryman 
Auditorium, that was a challenge. I am not sure how many memberships I 
helped the Swalins sell, but I am proud that I have saved — and I hold in my 



NORTH CAROLINA 



? 




hand — my 1952 membership card number 09432. Furthermore, Maxine, my 
diary attests that I attended a concert in Greensboro on a Saturday night that 
conflicted with the Grand Ole Opry. 

Ladies and gendemen, of our eight million people, there is one person 
who can speak for all North Carolinians. He is our state's most valuable 
human resource, and he is the president emeritus of the North Caroliniana 
Society. William Friday. 

T)r. Friday's address begins on page 1 5.1 



On Behalf of All 
North Carolinians. . 



William C. Friday 



During dinner Maxine Swalin leaned over to me and said, "You and 
I should exercise a point of personal privilege, and I want you to tell this whole 
assembly how proud I am that H. G.Jones received the North Carolina Award 
for Public Service this year." 

When I walked in this evening, Hal Crowther stopped me and said, 
"What a beautiful evening filled with beautiful people celebrating a beautiful 
lady." I should sit down right now. 

But Maxine also leaned over and said, "If my throat gets too dry, you 
may have to finish my speech. I do think you know how to read!" You can 
imagine what a delightful time I've been having up here with her. 

The Carolina Inn is always an appropriate setting for an event such as 
this, but it is the fitting venue for tonight's ceremony for two special reasons: 
First, it was in the Inn on March 21, 1932, that the North Carolina Symphony 
was officially organized. Second, it was here in the Inn on a steaming hot 
evening in 1935 — that was long before air conditioning — that a tall 
Minnesotan and a less tall Iowan were first introduced to the university 
community. Within a few months these newcomers had found their way into 
the hearts of Chapel Hillians, and within a few years they were known and 
loved throughout the state. 

Why did this couple fit so easily into the Tar Heel mode? Certainly 
their personalities and family values made them comfortable among North 
Carolinians. But equally important, devoted as they were to music, they saw 
that they could fill a need in a state that had no great musical heritage. 

As John Humber told us this afternoon, the North Carolina 
Symphony Orchestra, founded by Lamar Stringfield and his associates, had 
survived only marginally during the Great Depression. Yet it gave many North 
Carolinians their first exposure to fine music and laid the foundation upon 
which another strong leader could build. Just as the Swalins arrived, Stringfield 
was leaving the state, but the orchestra was held together loosely the next four 
years with funds from the WPA. Almost before they got settled in Chapel 
Hill, Ben and Maxine Swalin learned about the struggling organization, and 
they eagerly became associated with it. 

As they toured the state with the peripatetic orchestra, Ben and 
Maxine Swalin saw a void in the lives of North Carolinians deprived of the 
sound of good music. Everywhere thev went, they found open ears and 



16 MAXINE SWALIN 

yearning eyes. They also saw a need — indeed, an opportunity — to fulfill that 
yearning. 

That is why Ben and Maxine envisioned a permanent year-round 
symphony orchestra that would take music to the people. And as they 
volunteered as performers with the struggling orchestra, they spearheaded a 
campaign to strengthen the organization and to make it a permanent influence 
upon our state. By 1937 they were leading discussions proposing to merge 
what then was called the "WPA Orchestra" with independent musicians to 
form a major musical force. The reorganization of the North Carolina 
Symphony Society and the North Carolina Symphony Orchestra was effected 
at a meeting in Graham Memorial Building on October 20, 1939. The 
following March, Meredith College provided the setting for the very first 
formal performance of the new North Carolina Symphony. 

Benjamin Swalin became both director of the new organization and 
conductor of the orchestra, and for years he served in those capacities while 
carrying on his responsibilities in the University's Department of Music. 
Maxine served as pianist, player of the celesta, accompanist to soloists, and, 
with Adeline McCall, coordinator of work with school children. And what a 
great work that was. 

Let Maxine describe those early years: "Our first Symphony Society 
office was in a cold, dark alley building behind a grocery store down on 
Columbia Street. Our only investment was a floor stove and coal scuttle. 
Everything else was borrowed, even the facilities at the town hall across the 
street. . . ." 

In the middle of World War II, Ben and Maxine, and their loyal 
supporters, including Governor and Mrs. J. Melville Broughton, took an 
unprecedented step: They appealed to the state legislature for financial 
assistance. To the surprise of many, the General Assembly of 1943 passed 
Senate Bill 248, called by some the "Horn Tootin' Bill," authorizing the 
Council of State to appropriate from the Contingency and Emergency Fund 
the princely sum of $2,000 a year for the orchestra. Thus the North Carolina 
Symphony became the first official state supported symphony in the nation. 

Now that the orchestra was a permanent institution, the Swalins 
devoted all of their time and energies to its success. The national press took 
notice of music on wheels, and thousands of North Carolinians, in large 
auditoriums or humble, make-shift schoolrooms, were treated to good music. 
The continual struggle for financial survival was eased only in 1966 when the 
Ford Foundation, impressed by the grass-roots tradition of the orchestra, 
offered a grant of one million dollars. The grant was more than matched by 
private funds, and when the Swalins retired, the Symphony at last was on a 
permanent footing. As late as 1971 it was the only professional orchestra 
between our nation's capital and Atlanta. 

During those years, Maxine Swalin carried the title o£" Assistant to the 
Director," an understatement if there ever was one. In her delightful 
autobiography, An Ear to Myself she seeks to keep herself in the shadow of 
Ben Swalin. We know better. As organizer, as facilitator, as effective 
coordinator of work for children, and as a player in the orchestra, Maxine 



COMING OF AGE 



17 



Swalin was a powerful instrument in the success of the North Carolina 
Symphony. In 1989, the governor of our state, on behalf of a grateful people, 
presented her with the North Carolina Award for Public Service. 

Since Ben's death in 1989, she has remained one of our state's most 
vibrant and beloved citizens. She deserves every honor bestowed upon her, 
both individually and jointly. Just last year, the lobby of Meymandi Concert 
Hall — the Symphony's beautiful home in Raleigh — was dedicated to Benjamin 
and Maxine Swalin. We are honored to have in our presence tonight the 
patrons of that great facility, Dr. and Mrs. Assad Meymandi. 

Sixty-eight years ago Ben and Maxine Swalin arrived in North Carolina 
as strangers. They quickly adopted our state, and, in turn, North Carolinians 
lovingly made them our own. Tonight the North Caroliniana Society honors 
itself by recognizing the enormous influence of this great lady upon our state. 
On behalf not only of all sitting here tonight, but of all North Carolinians, I 
want to say to this great lady, thank you and happy birthday. 




Presentation of the A.ward 



Willis P. Whichard, President of the Society 



Thank you, President Friday, for your splendid perspective of our 
honoree. You can and do speak for ail North Carolinians. 

In front of the podium is a photograph of the sterling silver trophy 
representing the North Caroliniana Society Award. That two-handled cup is 
the result of the Society's decision in 1 991 to give to John and Ann Sanders the 
assignment of selecting a tangible symbol of the North Caroliniana Society 
Award. This is not just "another" cup; it already had a distinguished history 
connecting the family of Thomas Jefferson with that of Calvin Coolidge. 
Jefferson had a favorite granddaughter who, late in his life, married a Coolidge 
and moved to Massachusetts. Much to his sorrow he never saw her again, but 
he heard about her through his correspondence with his friend John Adams, 
who saw her with some frequency. That story, too lengthy to be repeated at 
this hour, will be found in the Society's annual report for 1990-1991. The 
trophy was appropriately engraved with the wording, "The North Caroliniana 
Society Award for distinguished contributions to North Carolina history and 
culture." Then, to provide its proper exhibition in the North Carolina 
Collection, John and Ann designed and arranged for the crafting of a 
handsome mahogany stand, together with silver plates on which the names of 
recipients are engraved. The entire ensemble graces the North Carolina 
Collection's Reading Room. 

The Sanderses also selected modest sterling cups, one of which is 
appropriately engraved and presented to each recipient. The simplicity of the 
cup is emblematic of the North Caroliniana Society's dedication to "Substance, 
not Show," the most essential quality we seek in each year's recipient. 

This year's recipient, like those before her, epitomizes substance over 
show. Maxine, if you will, please come forward and accept this award and 
make such remarks as you choose. 

[Mrs. Swalin accepted the cup with the comment, 'V 11 put this on my mantle, " 
then gave the stirring address that is printed herein, beginning on page 3. Following her 
address, President Whichard presented to her the Society 's check for $2,500, its contribution 
to the benjamin Swalin Endowment at UNC-CH. He also read a letter from Governor 
Michael Easley and led the audience in the singing of "Happy Birthday" and — to the tune 
of "Good Night, Irene " — "Good Night, Maxine. "J 



COMING OF AGE 



19 



April 28, 2003 




THE WHITE HOUSE 
WASHINGTON 



Mrs. Maxine Swalin 
Chapel Hill, North Carolina 

Dear Mrs. Swalin: 

Happy Birthday! Laura joins me in sending our best wishes for 
your 1 00th birthday. 

You have led a remarkable life that is great in accomplishments 
and great in years. Your experiences have helped enrich and 
strengthen our Nation. We join your family and friends in wishing 
you a wonderful celebration. 

God bless you. 

Sincerely, 




20 



MAXINE SWALIN 






Michael F. Easley 
Governor 



State of North Carolina 
Office of the Governor 

20301 Mail Service Center • Raleigh, NC 27699-0301 

January 24, 2003 



Mrs. Maxine Swalin 

Raleigh 

North Carolina 

Dear Mrs. Swalin: 

Along with your family and friends, I extend my sincere congratulations on the 
occasion of your 100"' Birthday, May 7, 2003. As we pause to honor this extraordinary 
milestone. I am proud to join the chorus of accolades. You have given your time and 
energy to the citizens of this Great State, performing your work with an unwavering 
commitment to excellence. 

At this time of reflection, you must be gratified to realize the positive impact 
you have made. The North Carolina Symphony was organized during the depression in 
1 932. You and your husband worked tirelessly to promote the Symphony over the years 
and as a result, it has become a major orchestra consisting of 65 full time professional 
players. We need many more Maxine and Benjamin Swalins in our future, and I trust 
others will be encouraged to follow in your footsteps of public service. 

Mrs. Easley joins me in wishing you a very Happy Birthday! We are indeed 
fortunate to have the resources of the wisdom, experience and guidance of our senior 
citizens. 

With kindest regards. 1 remain 



MFE:pbt 



Verv trulv vours. 



stftfufa. 



Michael F. Easlev 




PART III 



The North Carolina Symphony, 

The People 's Orchestra: 

A Brief History 

by 

John L. Humber 



Delivered at a Meeting of the North Caroliniana Society 
in the Old Well Room, Carolina Inn, 7 May 2003 



22 



MAXINE SWALIN 




John L. Humber (left), author of the jo 11 owing history of the North Carolina Symphony, 
stands with his wife Jean, sister-in-law Ann, honoree Maxine Swa/in, and his brother 
Ala reel, during the North Carolinian a Society meeting at which the paper was delivered. 



The North Carolina Symphony, 

The People 's Orchestra: 

A. Brief History 



John L. Humber 



A First Beginning: The Stringfield Years 

The North Carolina Symphony sparkles as one of the radiant gems in 
the crown of our State's cultural achievements. It was born of a time when its 
success was most improbable. It survived a period when many other priorities 
preoccupied the energies and resources of our people. It overcame obstacles 
to simply exist that seemed insurmountable save only to a few. But, it lives and 
thrives today as the fulfillment of a dream held by a small group of inspired 
people, each of whom contributed to the realization of that dream. We are the 
inheritors of their vision. 

The beginning of any great work can find its roots in the early life of 
those who create it. In the case of the North Carolina Symphony the 
background and youthful years of four individuals set their paths towards a 
common goal. These pioneers were Lamar Stringfield from Wendell, North 
Carolina; Benjamin Franklin Swalin from Minneapolis, Minnesota; Maxine 
McMahon from Waukee, Iowa; and Adeline Denham from Denver, Colorado. 
These unique men and women come together in the midst of the Great 
Depression, forging bonds as a close knit family in order that they, themselves, 
could give birth to an institution that has since nurtured the soul and spirit of 
North Carolinians for over seventy years in every quarter of our State. 

Lamar Stringfield, born in Wendell near Raleigh, was raised in a 
musical family at Mars Hill, a small college town near Asheville. Folk music 
captivated his imagination during his youth and led him to study music 
performance and composition, both before and during his service with an 
Army band during World War I. After the war he continued his studies in 
Asheville with his army bandleader, Joseph DeNardo, among others, and then 
developed his interest in conducting at the Institute of Musical Art in New 
York, now known as the Julliard School of Music. He followed this new 
interest by serving as guest conductor for various symphony orchestras around 
the country 7 and in 1928 received a Pulitzer Traveling Scholarship for his 
orchestral suite "From the Southern Mountains." Returning to Asheville 
during the summers he led in the formation of the Asheville Symphony 
Orchestra in the late 1920s, dreaming of a statewide symphony that would 
perform throughout North Carolina. 



24 MAXINE SW'AUN 

Unsuccessful in raising state support in Raleigh for his idea of a state 
symphony, he arranged to form the Institute of Folk Music at the University 
of North Carolina at Chapel Hill. Using this institute as a base he pursued his 
idea of organizing a symphony orchestra bv seeking people who could assist 
him in the endeavor. 

One of the first persons he approached was Mrs. Athol C. "Johnsie" 
Burnham, a string teacher living in Chapel Hill and one of the first women 
violinists to plav with the Metropolitan Opera Orchestra in New York. She 
became a staunch friend of the North Carolina Symphony over the years, 
emerging time and again to help thwart a crisis. She later recalled these early 
days: "It was Lamar Stringfield who started it all. He dearly loved to play the 
flute, but he wanted to play it in an orchestra, and there wasn't one around. 
In 1930 he asked me to help him found a symphony orchestra." 

The first step, she said, was to hold a meeting of all the local music 
teachers in her living room and ask them to make a list of pupils who could 
"hold a fiddle and wield a cello." The first meeting of what was soon to 
become the North Carolina Symphony Orchestra, Burnham recalled, consisted 
of a dozen music students at her home, "... all of them fiddling and tootling 
away," "and sounding as if all the evil spirits in hell had been turned loose. But 
at least they had sense enough to know it. That was the beginning." Those 
"fiddlers and tootlers" eventually grew in number to 30 dedicated musicians. 
Stringfield was the conductor and Burnham played first violin with this 
beginning group. Step two, she said, was the formation of a music committee, 
which included Mrs. Fred B. McCall, the former Adeline Denham, a niece of 
Frederick P. Koch, Director of Plavmakers Theater. 

Meamvhile, as Stringfield rehearsed these eager musicians, he began 
to work towards forming an organization for supporting this emerging 
orchestra. Among his supporters was Tyre C. Taylor, Governor O. Max 
Gardner's executive secretary, and Joseph Hyde Pratt, a former State Geologist 
and University professor at Chapel Hill as well as a member of Stringfield's 
1928 orchestra committee in Asheville. By the end of the year the North 
Carolina Symphony Society was organized as a non-profit corporation with 
Pratt as President and Stringfield as Conductor. 

lohnsie Burnham and Adeline McCall's Music Committee grew to 17 
members and became responsible for organizing the first concert of the North 
Carolina Symphony, presented as a "Demonstration Concert" under 
Stringfield's baton on May 14, 1932 in Hill Hall on the University campus. 
Many additional concerts followed over the next three years, and in 1933 
Stringfield created the Little Symphony concept as well as a Symphony Society 
Trio. These were the units that played in the smaller towns and communities. 
Then in April 1934 Stringfield resigned from the Institute of Folk Music to 
devote his full time and energies to the North Carolina Symphony. A S45,000 
grant from the Federal Emergency Relief Administration (FERA) kept the 
orchestra afloat through October 1935. 

In the fall of 1935 Stringfield resigned from the North Carolina 
Symphony and accepted an appointment as Regional Director of the Federal 
Music Project in Atlanta under the Works Progress Administration (VCTA), the 



COMING OF AGE 25 

federal agency that succeeded FERA. After conducting or performing in about 
140 concerts he gave his last performance with the North Carolina Symphony 
in September 1935 at Asheville. 

The symphony's organizational structure and direction began to lapse 
after Stringfield left. The WPA stated that it could only fund jobless musicians 
and was unable to support those who were already otherwise employed. It 
considered that the purpose of the Federal Music Project in North Carolina 
had been fulfilled and that the WPA orchestra was, therefore, disbanded. Some 
remaining musicians who still qualified under the WPA guidelines were 
transferred to Richmond, Virginia. Thereupon, Col. Pratt informed the WPA 
in January 1936 that under the existing conditions the Symphony Society was 
withdrawing its sponsorship of the North Carolina Symphony until such a time 
that Washington could provide a new initiative. Little did he realize that the 
"initiative" he hoped for was already residing in Chapel Hill in the person of 
a newly arrived University music professor who, as conductor of the University 
Symphony, was already following these events with keen interest. 

If the federal government had marked the North Carolina Symphony 
off as a closed chapter and the Symphony Society was awaiting new 
developments, the idea of a North Carolina Symphony among North Carolina 
musicians was certainly not a closed chapter. People like Joseph DeNardo of 
Asheville, Stringfield's old bandmaster and teacher, remained dedicated to the 
idea of a state symphony. Many of the musicians continued to play together 
and present occasional concerts under DeNardo's leadership and with guest 
conductors over the next several years. 

A Second Beginning: The Swalin Era 

Benjamin Franklin Swalin, born into a very musical family of Swedish 
descent, began studying the violin at the age of seven, teaching violin at sixteen 
and playing as the youngest member of the Minneapolis Symphony Orchestra 
at eighteen. In 1921 he went to New York City to study violin with Franz 
Kneisel and Leopold Auer at the Institute of Musical Art. During this time at 
the Institute he met a talented young lady by the name of Maxine McMahon, 
who was also studying at the Institute. The daughter of an Iowa physician, 
Maxine had shown early promise in piano, studied music at various institutions 
in the mid-west, and by 1928 had completed her diploma at the Institute in 
New York. Upon graduation she became Director of the Theory Department 
at the Hartford School of Music in Connecticut. During the next two years 
they visited each other in Hartford and New York and, as Maxine reveals to 
us in her book, An Ear To Myself, "we had time to . . . watch the sunset and to 
flirt with the moon while we lost out hearts." 

When Benjamin went to Vienna to earn his Ph.D. degree, she entered 
the University of Iowa to complete her Bachelors degree. Upon his return 
from Europe Benjamin Swalin joined the faculty at DePauw University in 
Indiana and he and Maxine were married on January 1, 1935, thereby forming 
one of the great partnerships through which North Carolinians have been so 
blessed. That summer they moved to Chapel Hill on invitation of the 



26 MAXINE SWALIN 

University Music Department Chairman, Glen Haydon, whom Swalin had met 
in Vienna. His duties were to teach violin, music history and conduct the 
University Symphony. 

Gradually developing ideas on strengthening the University Symphony 
with some of the remnants of the old WPA orchestra, Swalin formulated a 
plan by early 1 937 to reestablish the North Carolina Symphony as a permanent 
orchestra once again under the sponsorship of the North Carolina Symphony 
Society. Col. Pratt approved of Swalin' s idea and Erie Stapleton, Director of 
the Federal Music Project, also approved if the University would support the 
project as well. Swalin's plan proposed that musicians from the old NXTA 
orchestra be invited to Chapel Hill to play with the University Symphony and 
teach beginning students in return for which they could take courses and 
further their own education. However, on May 30, 1 937, Glen Haydon, whose 
primary interest lay in developing "an exemplar}' library for students to do 
research in musicology," unequivocally rejected the plan. He thought that the 
presence of professional musicians would be distracting to the students. 

Disappointed, but undaunted, Swalin turned to other interested 
parties. Then, in the summer of 1938, he was invited by Professor Bair of 
Woman's College in Greensboro to conduct orchestral accompaniment for 
several new one-act operas and ballets. This experience cemented in his mind 
the need for a state symphony orchestra and he became even more committed 
to the possibilities. After these programs in Greensboro, Swalin pursued this 
idea with Edward B. Benjamin and others who liked what they had heard. A 
demonstration concert was held in Greensboro in the fall of 1939, and on 
October 20 th the North Carolina Symphony Society was reorganized with Col. 
Pratt as President and Swalin as Musical Director and Conductor. One 
deliberate decision made by the Society at that time was that all musicians 
would be paid, no matter how little. 

But how to get started? Johnsie Burnham and Paul Green went with 
Swalin to the Bank of Chapel Hill and co-signed a note to borrow 5200 to 
purchase tympani and other supplies. The first formal concert by this new 
North Carolina Symphony Orchestra was given on March 16, 1940, at 
Meredith College's Jones Auditorium in Raleigh. As they got things moving 
other friends joined in. Swalin called it a "Second Beginning." 

A membership campaign was undertaken across the state to organize 
Society chapters and enroll members. The Society's first office was located in 
a "cold, dark alley building behind a grocery store" on Columbia Street in 
Chapel Hill and the Symphony's "only investment was a floor stove and coal 
scuttle. Everything else was borrowed. . . ." 

Gathering the musicians for the new North Carolina Symphony was 
a difficult task to say the least. Traveling from all over the state for rehearsals 
proved prohibitive, especially as new wartime restrictions were imposed. As a 
result Swalin, himself, traveled the length and breadth of the state by bus on 
weekends in order to rehearse small groups of musicians living in proximity to 
each other. 

A rehearsal routine developed. As Maxine Swalin recalls: "After his 
last class on Friday afternoons Ben caught the bus from Hillsborough to a 



COMING OF AGE 27 

different rehearsal unit, generally standing because of crowded conditions. 
Musicians from each area, Charlotte, Asheville, Greensboro, Greenville, 
Durham or Wilmington, rehearsed with him in borrowed places such as legion 
huts, school gymnasiums, cafeterias with chairs stacked on tables, and 
churches." 

The full rehearsals were normally held on Saturdays before a concert 
that night or the next day. Arrangements had to be made beforehand for 
rooms and meals for the musicians who would converge on that particular 
town that weekend. They all paid their own travel expenses to the rehearsal 
and concert sites. True to the decision made at the 1939 reorganizational 
meeting, all the musicians received an "honorarium" of perhaps S10 per 
concert. But there were no complaints. 

As the war progressed and fuel rationing began to seriously limit the 
ability to travel, many orchestra members worked out car pools for commuting 
to rehearsal and concert locations. Wartime demands also caused attrition 
among orchestra personnel as some 45 members were drafted into the military 
sendee during the course of the war, three of whom lost their lives in combat. 
Swalin had to spend a good deal of his time searching far afield for new 
musicians. He even had to go to Richmond, Virginia, by train, to recruit 
musicians who were available there, rehearsing them on weekends on the roof 
of the John Marshall Hotel. 

New Departures 

The Swalins viewed the symphony not just as an orchestra, but as an 
educational agency to instill an appreciation of music in those who had not 
been previously exposed, especially children. Benjamin Swalin realized that 
there were too few string players available and that the situation would not 
improve until there were more string teachers. Perhaps if children were 
exposed to the symphony orchestra it would help generate more interest and 
bring out latent talent, but it would take time to develop such assets. The 
Swalins began inviting children to attend the orchestra's rehearsals where the 
instruments were demonstrated to them and they were free to ask questions. 
The interest and response generated prompted them to begin developing ideas 
on providing free concerts to the children of the state. The first free children's 
concert was performed on May 16, 1941, in Chapel Hill's Memorial Hall. 

After the Symphony played for Raleigh's Sesquicentennial Celebration 
in 1942, Mrs. Charles E. Johnson arranged for the Swalins to meet with 
Governor Broughton, for whom they described the Symphony as a basic 
educational institution similar to public schools and libraries, suggesting that 
it should be included in the state budget. The result was a legislative bill 
enacted on March 10, 1943, authorizing the Council of State to allot a sum not 
to exceed $2,000 a year to the North Carolina Symphony Society from the 
Contingency and Emergency Fund. One legislator driving back to Raleigh to 
vote on this measure saw a woman working in the fields along the highway and 
thought to himself, "What would she say if she heard I voted for this horn- 
tootin' bill?" The name stuck and marks the first time in American history that 



28 AdAXINE SWAUN 

a state enacted a continuing subsidy for an orchestra. 

Up to this point Benjamin Swalin had been giving freely of his time 
and resources since the very beginning of the Symphony's revival. While still 
meeting his teaching obligations at the University he now asked for and 
received from the Symphony Board a three-year contract at the salary of $1 .00 
per year. The Board, however, stipulated that when its finances permitted his 
salary would increase until it reached "a level of respectability." Ama2ingly 
enough, under such conditions of economic austerity' and personnel problems 
engendered by the war, the Symphony actually grew and prospered during the 
early 1940s. 

In the fall of 1944 Swalin informed the Symphony Board that it was 
necessary to hire professional musicians with professional standards. He 
realized that the Symphony could only progress so far with volunteer players. 
Increasingly conflicts were experienced between the Symphony's schedule and 
the personal commitments of musicians who found it ever more difficult to be 
away from home on weekends. They often made private substitutions between 
themselves, so that an oboe player at rehearsal might not be the one playing at 
the concert. Swalin understood that a core of permanent orchestra members 
was essential in order to provide the service to the state that was envisioned. 

Then, in the spring of 1945, the Symphony Society embarked upon a 
major membership and fundraising campaign in order to employ 40 
professional musicians. Frank Porter Graham gave Benjamin Swalin an 
indefinite leave of absence from the University so he could devote his full time 
to the Symphony. The Symphony Board responded with a salary that enabled 
the Swalins to travel the state holding public meetings and playing joint piano 
and violin recitals to help organize chapters for the Symphony Society. The 
legislature also responded generously by doubling its previous subsidy to 
$8,000 for the 1945-1947 bienmum. 

An Orchestra On Wheels 

The spring of 1946 was a turning point for the North Carolina 
Symphony. For the first time it went on tour as an integrated group of 
musicians rather than an orchestra with members individually converging upon 
a community for a concert weekend. Benjamin Swalin remarked: "For the first 
time we were a professional 'Orchestra on Wheels', traveling as a group in our 
own chartered buses for three months of concertizing." 

A seasonal pattern for touring was established that was followed until 
late in the 1960s. The Litde Symphony would rehearse for a week and then 
tour during February and March with about 25 musicians performing in the 
smaller towns and communities. Then the full Symphony would rehearse for 
a week and tour the larger cities and towns in April and May with about 55 
members. But the Symphony still had no permanent home or even a set 
rehearsal hall well into the 1960s, using what was offered them, primarily in 
Raleigh or Durham. The University provided the Symphony quarters for its 
offices, at first in Swain Hall, later on in some World War II barracks 
remaining on campus, and finally in some temporary trailers. 



COMING OF AGE 29 

The touring orchestra members lived with each other for the weeks 
and months on the road in shared accommodations, eating in local restaurants 
or sometimes in private homes. In Maxine Swalin's words, they were "At 
Home Anywhere." They performed in school gyms and auditoriums, churches 
and community centers of all descriptions. Nothing could ever be taken for 
granted. One time a concert facility that had been agreed upon was changed 
without notifying the orchestra, so they had to go cruising around town in their 
busses literally hunting for the new location. Some of the problems 
encountered could not be resolved until arrival. Stages were sometimes too 
small to seat all players or there was no place to store the instrument cases. At 
times there were inadequate dressing rooms or burned out light bulbs. 
Unlighted stairs were often a problem and in some cases the stair access to the 
stage was too narrow to permit passage of a double bass. On one occasion 
Benjamin Swalin had to dress in a closet that he had to share with some thorny 
rose bushes. Repetitive playing of the same music day after day and week after 
week, sometimes twice a day, created a certain atmosphere of monotony if not 
boredom among some of the players. A musician was once heard to observe, 
"There must be something wrong with me. I'm beginning to like the Blue 
Danube Walt^" But through numerous irritations, frustrations and even 
monotony on occasion, persevere they did, and the North Carolina Symphony 
became a major influence in the cultural life of all North Carolinians. 

The Children 

As the decade of the 1940s progressed the youth of North Carolina 
became more and more a main focal point of the orchestra's mission. In 1945 
the Symphony organized its Children's Concert Division with Adeline 
Denham McCall as Educational Director and Maxine Swalin as School 
Coordinator, thereby providing more formal planning for the ever increasing 
number of children's programs. 

Adeline McCall, now a public school music teacher in Chapel Hill with 
a rich background of study at the University and elsewhere, including Europe, 
had by this time become an authority on teaching music to young children, 
having already three books published on the subject by the University of 
North Carolina Press. 

McCall developed the Children's Concert Division in conjunction with 
the state public school system in order that the children of the upper 
elementary grades could be taught the orchestra's organization, its sound, the 
use of the different instruments and the various themes from the music that 
they would hear. This would all occur before the orchestra ever arrived in their 
community. Each year McCall wrote a pamphlet for the children that was 
entitled Symphony Stories and was distributed to the schools throughout the 
state. It provided a brief historical account of the music and composers 
included in that year's program. Adeline McCall also wrote a Guide 'For Teachers 
that was mailed to the schools to help them prepare the children for the 
upcoming concert. And, in 1954 she even began holding workshops in Chapel 
Hill and around the state to train teachers on how to work with the children. 



30 MAXINE SWALIN 

The children's programs lasted just under one hour in consideration 
ot their attention span and included selections from a symphonv, rhythmic 
dances, descriptive or dramatic music, and comic or entertainment pieces. 
There were usually two songs included for the children to sing along with the 
orchestra or to play on their own rhythm or melody instruments in 
accompaniment. Then, after having coordinated the Symphony's schedule with 
those of the schools around the state, Maxine Swalin would serve as narrator 
at the children's concerts, explaining the music and guiding them through the 
program. In the 1947 season the orchestra played to 100,000 children around 
the state. By 1963 a generation of "Symphony Children" were now beginning 
to send their own children to Symphony Day in the public schools. 

A Maturing Orchestra 

The repertoire of the orchestra included works encompassing the early 
classical era through the Romantic period and into the modern twentieth 
century. Larger works such as the symphonies of Mahler and Bruckner were 
beyond the Symphony's capability due to the additional instrumentation 
required and the excessive cost of music rentals. But of all the styles of music 
played it was the Romantic music that was best received overall in those days. 

In the spring of 1946 Swalin inaugurated the Young Adult Auditions, 
the winners of which would perform on their instrument with the orchestra. 
And in 1950 he instituted the Composer's Audition, the winners of which 
would have their work played by the orchestra at an evening concert. From 
1959 through 1967 the Symphony's old friend, Edward Benjamin, offered a 
$1,000 prize for the most "restful and reposeful" musical composition. 

Finances were always on a "shoestring" as Swalin described it. It 
became clear, however, that the Symphony would need a sustaining fund to get 
it over the rough spots. An Endowment Fund was therefore inaugurated and 
received its first contribution in 1960, a check for $5,000 from Mrs. Eli J. 
Watson of Hickory and New York. The Symphony Ball, as a new annual 
tundraising event, was inaugurated that same year. Yet Swalin was keenly aware 
that the Symphony still needed two things, an endowment fund of sufficient 
size that it would guarantee the Symphony's future and a permanent home. 

While on one of his annual talent audition trips to New York and 
elsewhere in 1965, Swalin learned that the Ford Foundation had not included 
the North Carolina Symphony in its list of 60 orchestras nationwide to which 
it would be awarding $81 million in grants. He telephoned Maxine Swalin and 
told her, "Alert the symphony president and the staff. We can't give up. Maybe 
its not too late — let's get busy." In the process of getting "busy" the 
Symphony forwarded to the Foundation a voluminous amount of records and 
documents in the hope that the Symphony would be added to the list of 
grantees. But it was only after sending Ford an audio tape of the Symphony 
playing Stravinsky's Firebird Suite, recorded at the instigation of Earl Wynn by 
Frank Netherland, a technician at the University Radio and Television 
Department, that Swalin got an invitation to meet with the Foundation 
Committee. It was a case where the music provided a stronger message than 



COMING OF AGE 31 

any spoken or written words had been able to convey. On June 30, 1966, the 
announcement of the Ford Challenge Grant of $1,000,000 to the North 
Carolina Symphony was received in Chapel Hill amid much celebration. Under 
the terms of the grant the Symphony had to raise $750,000 in matching funds 
by June 30, 1971. 

After two false starts in the Challenge campaign with a very limited 
amount of money raised by May 1970, only thirteen and a half months 
remained before the Ford deadline. The Executive Board finally decided that 
the only person with sufficient stature and reputation who could influence the 
people of North Carolina to rise to the Ford Challenge was none other than 
Benjamin Swalin. And they proved themselves quite correct in this view. 
Swalin mobilized everybody from the Governor to the school children and in 
thirteen and a half months the Symphony had exceeded the challenge goal by 
some $93,000. In September 1971 the Ford Foundation announced that the 
conditions of the grant had been met, just as Benjamin Swalin began his last 
season as conductor of the North Carolina Symphony. 

In 1972 both Maxine and Benjamin Swalin retired after thirty-five 
years of sendee with the Symphony and Benjamin Swalin was named 
Conductor Emeritus. He had realized one of his two cherished dreams for the 
orchestra, a permanent endowment fund. The achievement of a permanent 
home for the Symphony yet remained for the future. 

The Swalin era may have come to a close, but the legacy derived from 
their vision and dedication has enriched the lives of hundreds of thousands of 
North Carolinians. Swalin was known as "the man who would not take 
'impossible' as an answer." His guiding philosophy throughout the years was 
simply, "If the people can't come to hear good music, we must take good 
music to them." The North Carolina Symphony and what it represents today 
is their benediction for all North Carolinians, continually renewing itself for 
untold future generations. 

The Next Thirty Years 

The decade from 1972 to 1982 was one of reorganization, expansion, 
and retrenchment. John Gosling succeeded Benjamin Swalin on October 13, 
1972, as Artistic Director and Conductor of the North Carolina Symphony. 
The Symphony's Board of Trustees soon thereafter decided that Raleigh was 
truly the only appropriate location for the permanent home of the state's 
orchestra. Consequently, on July 9, 1975, the North Carolina Symphony 
acquired its first permanent headquarters. It moved its offices from the 
campus of the University of North Carolina, where they had been located since 
1939, and its rehearsal hall from Baldwin Auditorium on the Duke University 
campus, to the specially prepared quarters in a newly renovated Memorial 
Auditorium in downtown Raleigh. 

Under Gosling's guidance the North Carolina Symphony grew both 
in size and in repertoire. And, on June 7, 1 976, the American Orchestra League 
granted it the status of a "Major Orchestra," joining the Atlanta and New 
Orleans symphonies as the only orchestras to hold this distinction in the south. 



32 MAXINE SWALIN 

Its new status was sealed with its debut at Carnegie Hall in New York City on 
March 9, 1977, playing for a near capacity house. 

During the next season the Symphony played 185 concerts for some 
80,000 adults at regular performances in 189 different communities, including 
the free concerts for some 200,000 children. 

These were heady years of new accomplishment. However, numerous 
problems developed and in 1980 suddenly converged upon the Symphony. 
The Symphony Board of Trustees had to liquidate most of the Symphony's 
Endowment Fund acquired by the Ford Challenge in order to extinguish a $1 
million deficit that had accumulated over several years. When John Gosling left 
in 1980, there followed a number of staff resignations. The Board reduced its 
operating budget by canceling 24 concerts of the 1980—1981 season, trimming 
its staff by seven positions and the orchestra size back down to 65 members. 
Fundraising that had been somewhat neglected in the 1970s had to be 
jumpstarted. 

In April 1 980 the Symphony Board hired Max Abbott, Superintendent 
of the Fayetteville City Schools, as a salaried President of the North Carolina 
Symphony. Upon taking office he immediately faced serious multiple problems 
during the most turbulent year in the history of the North Carolina Symphony: 
balancing the budget, hiring a new staff, dealing with a growing dissatisfaction 
among musicians, reversing a declining concert attendance, searching for a new 
permanent conductor, and dealing with a shorter season and reduced orchestra 
size. In spite of all of this Abbot retained an optimistic attitude and remained 
for sixteen months until September 1981, at which time he left the Symphony 
in a much better condition than had been the case when he arrived. 

A New Beginning 

By February 1982 audiences were growing once again, revenues were 
up and expenditures were down from the previous year. The budget was 
balanced and all bills were current. However, the search was on again for a 
principal conductor. On May 3, 1982, Gerhardt Zimmermann, Associate 
Conductor of the St. Louis Symphony, accepted the position of Artistic 
Director and Conductor of the North Carolina Symphony, arriving at the 
beginning of the North Carolina Symphony's 50 th Anniversary. Benjamin 
Swalin, Conductor Emeritus, was invited to share the podium with him in 
Chapel Hill, conducting the same program that had been played at the first 
concert of the North Carolina Symphony on May 1 4, 1 932, under the direction 
of Lamar Stringfield. And, in 1984, Banks Talley, Jr., became Executive 
Director of the Symphony, leading it to a strong recovery over the next decade. 
In October 1987 the North Carolina Symphony, under Gerhardt 
Zimmerman's baton, played a return engagement at Carnegie Hall, ten years 
after its debut there under John Gosling. 

Today the North Carolina Symphony presents over 1 70 concerts each 
season, about 55 of which are free children's programs that continue as a vital 
part of the state school system's music education program. Additionally, under 
Gerhardt Zimmermann's leadership the Symphony has retained the annual 



COMING OF AGE 33 

Youth Concerto Competition and has added a Triangle Youth Philharmonic 
Orchestra for high school students and a Young People's Concert Series in 
Raleigh. It also hires collegiate age musicians as string interns and has a 
Composer-In-Residence on its staff. 

Back in 1939, Benjamin and Maxine Swalin would have been 
absolutely ecstatic to have received one telephone call inquiring about the 
North Carolina Symphony. In 2003 when one seeks a reference to the North 
Carolina Symphony on one of those Internet search engines, one is offered an 
astounding total of 96,600 links to some reference on the North Carolina 
Symphony. 

On February 21, 2001, Meymandi Hall was dedicated as the North 
Carolina Symphony's new home. It was built on the west side and adjacent to 
the older Memorial Auditorium as part of Raleigh's new BTI Center for the 
Performing Arts and was named in memory of Dr. Assad Meymandi's mother 
in recognition of Dr. Meymandi's generous contribution that helped to make 
it a reality. 

Dr. and Mrs. Albert M. Jenkins, Jr., of Raleigh, realized early on that 
nowhere in this new home of the North Carolina Symphony was the Swalin 
name to appear. Instrumental in raising as well as donating funds for the new 
hall, they were given the privilege of naming the lobby at Meymandi Hall as the 
Swalin Lobby. It was dedicated on October 13, 2001, to the sound of a 
magnificent recording of "Nimrod" from Elgar's Enigma T r ariations, played by 
the North Carolina Symphony under the baton of Benjamin Swalin. 
Afterwards, a lovely bronze sculpture of Benjamin and Maxine Swalin was 
unveiled in the Swalin Lobby by Dr. Jenkins and sculptor James Barnhill of 
Greensboro. Maxine Swalin said that they had sought a man with the same 
build and broad shoulders of her husband to pose for the artist, and 
discovered that model in their long time friend, John W. Lambert of Raleigh, 
who agreed to sit with her for the sculptor. Barnhill said that in creating this 
sculpture, he endeavored to capture the dedication of the Swalins not only to 
the North Carolina Symphony, but to each other as well. The Chapel Hill News 
so aptly referred to this work of art as "A Duet in Bronze." 

Then, on May 3, 2003, another era in the continuing epic of the North 
Carolina Symphony came to a close. Gerhardt Zimmermann, the fourth 
Musical Director and Conductor of the North Carolina Symphony, retired 
after twenty-one years of distinguished sendee and accomplishment. He is 
leaving the Symphony with an illustrious record cast over the past two decades 
upon which the Symphony now begins a fresh new chapter in its continuing 
effort to serve the cultural needs of the people of North Carolina. 

And so, today, May 7, 2003, Maxine Swalin's one hundredth birthday, 
the North Caroliniana Society is presenting her with the North Caroliniana 
Society Award to honor her unique life and enduring achievements with the 
North Carolina Symphony that have had such a profound impact upon us all. 

In recognition of Maxine Swalin's contribution to the musical 
education of children over thirty- five years, the North Carolina Symphony has 
created the Maxine Swalin Outstanding Music Educator Award. During the 
intermission of a special concert in Meymandi Hall on May 18, 2003, Maxine 



34 MAXINE SWAUN 

Swalin, herself, will present the first award to Dr. Malvin Artley, a retired music 
teacher from Elon College. Each year this award will provide a remembrance 
anew of the still flourishing children's music education program that Maxine 
Swalin dedicated her life to create, together with her husband and Adeline 
McCaU. 

As we reach back into our collective memories a galaxy of names calls 
to us over the years: Lamar Stringfield, Joseph Hyde Pratt, Benjamin and 
Maxine Swalin, Adeline McCall, Joseph DeNardo, Johnsie Burnham, John 
Gosling, Gerhardt Zimmermann, Banks Talley, Jr. These names and so many 
more undergird the success of the North Carolina Symphony, that radiant gem 
that still sparkles in North Carolina's Crown of Cultural Achievement. 

Albert and Sue Jenkins were responsible for commissioning that 
"Duet in Bronze" resting in the Swalin Lobby. At the unveiling of the 
sculpture Dr. Jenkins made a most poignant remark. Indeed, it remains today 
as an eloquent attribute for those of us gathered here on this occasion. As he 
looked over the many friends of the Swalins and the North Carolina 
Symphony gathered there at that moment, he said, "I found myself looking 
around for the children and I suddenly realized, we are the children." Aren't 
we all! 



COMING OF AGE 



35 





Two hundred friends ofMaxine Swalin crowded into the John Sprunt Hill Ballroom to join 
in the celebration of her 100 th birthday and her acceptance of the North Carolinian a Society 
Award for 2003. All photos of the Swalin Centennial are by Will Owens. 



36 



MAXINE SWAUN 




Maxine Swalin acknowledged the rousing welcome as she entered the ballroom, gave an 
inspiring speech on "Coming of Age, " then accepted the North Caroliniana Society Award 
for 2003 and greeted friends. 



COMING OF AGE 



37 




During the reception that preceded the banquet, Maxine Sivalin accepted a certification that 
the piano room of the renovated Memorial Hall will be named for her. Then she was greeted 
by scores of friends. 



38 



MAXINE SWAUN 




Like a magnet, Maxine Swalin drew around her friends and music-lovers, while others 
chatted among themselves about her remarkable talents and accomplishments through the 
century stretching from 1903 to the present. 



COMING OF AGE 



39 




After the festivities, Maxine Sira/in posed with (at top, left to right) Betty Williams, Beth 
Paschal, Ruth Te/eki, Assand and Emily Aleymandi, Site Jenkins, Yidiang Chang, and 
Albert Jenkins; and (at bottom) with her cousin Rstth Teleki of Houston, Texas. 



40 



The North Caroliniana Society 

Wilson Library, Campus Box 3930 
Chapel Hill, North Carolina 27514-8890 

Telephone (919) 962-1172; Fax (919) 962-4452; hsjonesUi. email. unc. edit; nm-iv.ncsoaety.org 

Chartered on 1 1 September 1 975 as a private nonprofit corporation under provisions of Chapter 
55A of the General Statutes of North Carolina, the North Caroliniana Society is dedicated to the promotion of 
increased knowledge and appreciation of North Carolina's heritage through the encouragement of scholarly 
research and writing in and teaching of state and local history and literature; publication of documentary 
materials, including the numbered, limited-edition North Caroliniana Society Imprints and North Caroliniana 
Society Keepsakes; sponsorship of professional and lay conferences, seminars, lectures, and exhibitions; 
commemoration of historic events, including sponsorship of markers and plaques; and through assistance 
to the North Carolina Collection of UNC-Chapel Hill and other cultural organizations with kindred 
objectives. 

Incorporated bvH. G.Jones, William S. Powell, and Louis M. Connor,Jr.,who soon were joined 
by a distinguished group of North Carolinians, the Society was limited to a hundred members for the first 
decade. It elects from time to time additional individuals meeting its strict criterion of "adjudged 
performance" in service to their state's culture — i.e., those who have demonstrated a continuing interest in 
and support of the historical, literary, and cultural heritage of North Carolina. The Society, a tax-exempt 
organization under provisions of Section 501(c)(3) of the Internal Revenue Code, expects continued service 
from its members, and for its programs it depends upon the contributions, bequests, and devises of its 
members and friends. Its IRS number is 56-1 1 1 9848. Upon request, contributions to the Society may be 
counted toward Chancellor's Club membership. The Society administers a fund, given in 1987 by the 
Research Triangle Foundation in honor of its retiring board chairman and the Society's longtime president, 
from which more than 200 Archie K. Davis Fellowships have been awarded for research in North Carolina's 
historical and cultural resources. The Society also sponsors the North Caroliniana Book Award, recognizing 
a book that captures the essence of North Carolina, and it confers the William Stevens Powell Award upon 
a senior student who has contributed most to an understanding of the historv and traditions of The 
University of North Carolina at Chapel Hill. 

A highlight of the Society's year is the presentation of the North Caroliniana Society Award to 
an individual or organization for long and distinguished service in the encouragement, production, 
enhancement, promotion, and preservation of North Caroliniana. Starting with Paul Green, the Society has 
recognized Albert Coates, Sam J. Ervin, Jr., Sam Ragan, Gertrude S. Carraway, John Fries Blair, William and 
Ida Friday, William S. Powell, Marv and James Semans, David Stick, William M. Cochrane, Emma Neal 
Morrison, Burke Davis, Lawrence F. London, Frank H. Kenan, Charles Kuralt, Archie K. Davis, H. G. 
Jones, J. Carlyle Sitterson, Leroy T. Walker, Hugh M. Morton, John L. Sanders, Doris Betts, Reynolds Price, 
Richard H. Jenrette, Wilma Dykeman, Frank Borden Hanes, Sr., Maxine Swalin, and, on its 
sesquicentennial, the North Carolina Collection. 

The Society, without a bureaucracy and with volunteer staff, is headquartered in the 
incomparable North Carolina Collection in Wilson Library on the UNC-CH Campus. 

BOARD OF DIRECTORS 

Willis P. Whichard, President 

Archie K. Davis (1911-1998) and William C. Friday, Presidents Emeriti 

William S. Powell, I 'ice-President, H. G. Jones, Secretary-Treasurer 

H. David Bruton, Kevin Cherry, Bern - A. Hodges, Dana Borden Lacy, Henry W. Lewis, 

Nancy C. Lilly, W. Trent Ragland, Jr., John L. Sanders, William D. Snider 

Ex Officio: Robert G. Anthony, Jr., Jeffrey J. Crow 

Honorary Fife Director: William McWhorter Cochrane 

Directors Emeriti: Frank Borden Hanes, Sr., Edward L. Rankin, Jr., Robert W. Scott 



NORTH CAROLINIANA SOCIETY IMPRINTS 

[continued from inside front cover] 

No. 19. Thomas Wolfe's Composition Books (1990) 
edited by Alice R. Cotten 

No. 20. My Father, Burke Davis (1990) 
by Angela Davis-Gardner 

No. 21. A Half Century with Rare Books (1991) 
by Lawrence F. London 

No. 22. Frank H. Kenan: An Appreciation (1992) 
edited by Archie K. Davis 

No. 23. Growing Up in North Carolina, by Charles Kuralt, and 
The Uncommon laureate, by Wallace H. Kuralt (1993) 

No. 24. Chancellors Extraordinary: J. Car/yle Sitterson and TeRoy T Walker (1995) 
by William C. Friday and Willis P. Whichard 

No. 25. Historical Consciousness in the Early Republic (1 995) 
edited by H. G.Jones 

No. 26. Sixty Years with a Camera (1996) 
by Hugh M. Morton 

No. 27. William Gaston as a Public Man (1997) 
by John L. Sanders 

No. 28. William P. Gumming and the Study of Cartography (1998) 
edited by Robert Cumming 

No. 29. My Love Affair with Carolina (1998) 
by Doris Waugh Betts 

No. 30. A Single but Huge Distinction (1999) 
by Reynolds Price- 
No. 3 1 . RJchard Jeurette 's Adventures in Historic Preservation (2000) 
edited by H. G.Jones 

No. 32. Sketches in North Carolina USA 1872 to 1878 (2001) 
by Mortimer O. Heath; edited by H. G Jones 

No. 33. Roofs and Branches (2001) 
by Wilma Dykeman 

No. 34. Glimmers in the Gloaming (2002) 
by Frank Borden Hanes, Sr. 

No. 35. Coming of Age in North Carolina's Fifth Century, by Maxine Swalin, and 
The North Carolina Symphony, The People V Orchestra, by John L. Humber 




NORTH CAROUNIANA SOCIETY' AWARD RECIPIENTS 



1978 


Pa/// Green 


1993 


Charles Kura/t 


1979 


Albert Coates 


1994 


Archie K. Davis 


1980 


Sam]. En 'in, Jr. 


1994 


H. G. Jones 


1981 


Sam Ragan 


1994 


North Carolina Collection 


1982 


Gertrude Sprague Carraivay 


1995 


EeRoj T. Walker 


1983 


John Fries Blair 


1995 


J. Carlyle Sitterson 


1984 


William C. <& Ida H. Friday 


1996 


Hugh MacRae Morton 


1985 


William S. Powell 


1997 


John E. Sanders 


1986 


Mary D.B.T. & James Semans 


1998 


Doris Waugh Betts 


1987 


David Stick 


1999 


Reynolds Price 


1988 


William McWhorter Cochrane 


2000 


Richard H. Jenrette 


1989 


Emma Nea/ Morrison 


2001 


Wibna Dykeman 


1990 


Burke Davis 


2002 


Frank Borden Hanes, Sr. 


1991 


Eawrence F. London 


2003 


Maxim Swalin 


1992 


Frank H. Kenan 







FOR USE ONLY IN 
THE NORTH CAROLINA COLLECTION 



Form No. A-368, Rev. 8/95 






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ill